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Channel Therapy is the poetic narrative and documented misadventures of four brothers teetering on the edge of disbelief in God. The unfortunate result of not living what you preach. Kids see everything. Channel Therapy.

Stories to seduce your senses

Leading French painters in the late medieval period executed miniatures for lavishly illuminated books of hours. In the mid-fifteenth century, Simon de Varie commissioned such a book. Completed in 1455, it included five priceless works by the most eminent French painter of the time, Jean Fouquet, as well as other striking paintings by two of his contemporaries. In the seventeenth century, Simon de Varie's book was divided into three sections and sold as separate volumes. Two of these volumes are today in the Royal Library in The Hague. The third volume--thought lost until 1984, when it surfaced in a private collection and was subsequently acquired by the Getty Museum--contains the first miniatures by Jean Fouquet to have been discovered in eighty years. This beautiful book will reproduce in color all of the miniatures and historiated initials in the original manuscript, along with selected text pages with secondary decoration. Comparative illustrations also accompany the two essays in the volume. Marrow's text addresses the role of books of hours in late medieval culture; the contents and form of de Varie's Hours; and the relationship of the miniatures by Fouquet to the rest of the artist's oeuvre. In a related essay, Francois Avril discusses the position of Simon de Varie and his family in mid-fifteenth-century France. The publication of The Hours of Simon de Varie adds to the Getty's impressive list of publications on illuminated manuscripts begun in 1990 and including the widely acclaimed facsimile Mira calligraphiae monumenta.

A spicy double collection of stories from Mills & Boon

Death is at once a universal and everyday, but also an extraordinary experience in the lives of those affected. Death and bereavement are thereby intensified at (and frequently contained within) certain sites and regulated spaces, such as the hospital, the cemetery and the mortuary. However, death also affects and unfolds in many other spaces: the home, public spaces and places of worship, sites of accident, tragedy and violence. Such spaces, or Deathscapes, are intensely private and personal places, while often simultaneously being shared, collective, sites of experience and remembrance; each place mediated through the intersections of emotion, body, belief, culture, society and the state. Bringing together geographers, sociologists, anthropologists, cultural studies academics and historians among others, this book focuses on the relationships between space/place and death/ bereavement in 'western' societies. Addressing three broad themes: the place of death; the place of final disposition; and spaces of remembrance and representation, the chapters reflect a variety of scales ranging from the mapping of bereavement on the individual or in private domestic space, through to sites of accident, battle, burial, cremation and remembrance in public space. The book also examines social and cultural changes in death and bereavement practices, including personalisation and secularisation. Other social trends are addressed by chapters on green and garden burial, negotiating emotion in public/ private space, remembrance of violence and disaster, and virtual space. A meshing of material and 'more-than-representational' approaches consider the nature, culture, economy and politics of Deathscapes - what are in effect some of the most significant places in human society.

Overzicht van 95 modeontwerpers en hun collecties, vanaf 2000.

A grieving mother develops a dangerous bond with a haunted painting in this chilling thriller from the author of The Butcher’s Daughter. Clayton and Avril Shaw have lost their little boy and are still mourning when they move into Swallow’s Nest on the Yorkshire moors. In their new house Avril discovers a painting. When she learns that the boy in the painting was deaf, like her dead son, she starts to try to communicate with his ghost. Meanwhile, Clayton finds himself entangled in an equally undesirable friendship with a retired fire chief who knows more about the painting than he is prepared to let on. Is The Crying Boy painting cursed, and can numerous house fires be linked to it? Struggling with their unstable marriage, the couple find themselves in further danger as an increasingly disturbing bond develops between Avril and The Crying Boy. In a twist of events Avril’s irrational behavior is brought to a dramatic halt when she discovers she is pregnant. With her affections once again restored for Clayton, she decides to dispose of the sinister portrait. But the cast off painting wants revenge and its anger towards Avril’s unborn child might just prove immeasurable.

Suspects in the fatal bludgeoning of lowlife Ian Aston include his criminal pals - and Detective Chief Superintendent Colin Harpur's superior officer Desmond Iles, whose wife, Sarah, was having an affair with Aston. As Harpur appears to take Aston's place in Sarah's affections, local club owner Ralph Ember takes over the dead man's spot in the criminal hierarchy, becoming a reluctant participant in a bank scheme that seems cursed from the start. 'The tortuous private lives of James's policemen are often more savage than the crimes they investigate . . . Mr James is bruisingly good' Sunday Telegraph

'One of British crime writing's hidden jewels' Time Out Megan Harpur had taken the train back from London to tell her husband she was leaving him for another man. By the time Detective Chief Superintendent Colin Harpur discovered her in the station car park in the early hours of the morning, there was nothing anyone could do. Who had committed this savage killing? And what did Megan's lover's secret activities have to do with it? The crime confronts Harpur with the most unnerving case of his career - an investigation into his own wife's brutal and apparently senseless murder.